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Machine and the Synergetic Nuts — Machine and the Synergetic Nuts
((Not on label) Alibaba Records ALBB-001, 2003, CD)

Machine and the Synergetic Nuts Cover art

Prepare yourself for a good ass kicking with this one. The growling bass and greasy organ dueling with the busy drums at the bottom end, all supporting the sweet sax lines and piano at the top end of the opening track “Peak” takes a page right out of the playbook of the late, great Kultivator. The only thing missing here are the vocals. Machine and the Synergetic Nuts is a Japanese instrumental four-piece of keys, electric bass, drums, and sax, with guest musicians supporting on guitars, vibraphone, and additional percussion, operating in solid Canterbury territory with strong zeuhl hints in the bass work. Keyboardist Noriya (who is also chief composer here) tends to employ vintage organ sounds and electric piano, and pretty much sets the tone for the rest of the arrangements, offering the middle strata of a solid framework for melodic soloing by sax, guitar and additional keys. The material runs the gamut of hyper-powered jazz rock; one can hear a number of different flavors herewithin, stylistic echoes of things one may have heard before but certainly no direct quotes. The main thing that sets these guys apart from most is the intense and aggressive energy level, at times just this side of chaotic; like a runaway train approaching that sharp curve, you just know it’s going to go over the edge, but somehow it stays on the track. While not groundbreaking, this is nonetheless an excellent release, hopefully the first of many to come.

by Peter Thelen, Published 2003-12-01

It is probably safe to say that were it not for the existence of early 70s Soft Machine, this Japanese quartet would have a different sound, or not exist. Nonetheless, they do create an admirable blurring of the boundaries separating jazz, fusion, chamber rock, and progressive rock. In this regard Machine and the Synergetic Nuts reminds me somewhat of the Belgian masters, AKA Moon. Although the bassist, and drummer (who sounds nothing like Robert Wyatt), stick to largely the same methods on all tracks, the keys and sax really make this band sound splendid. I like particularly how keyboardist Noriya Iwata keeps you guessing whether he will use piano, synth, or organ. He colors the arrangements nicely, often whipping up a swirling matrix of quirky rhythmic dances, that, again, recall AKA Moon to a degree. The saxophonist focuses on blending in with Iwata’s keyboards, avoiding completely the endless Coltrane-inspired noodling that can trap sax players, especially in this genre. The band as a whole plays it sparse on the soloing; heavy on the ensemble interaction, and that is to their credit. Thus a sound sense of variety is captured on every track. I am duly impressed with MatSN, and if you can overlook their tendency to mimic Soft Machine’s organ / sax sound colors, I’m sure you will be impressed too.

by Mike Ezzo, Published 2003-12-01

The 90s and beyond have seen a steady procession of Japanese avant-rock bands emerge, make a handful of albums, and disappear again. Machine and the Synergetic Nuts comes out of this tradition with their first album. They play angular, chops-oriented, tricky instrumental compositions like most any other band in this vein, comparable also to numerous bands on the Cuneiform label. The primary differentiating element is an acoustic jazz element at work, with a lot of swing and verve, spirited and bereft of fusion cliches. Sometimes the pieces seem to lack cohesion, with two or three contrasting motifs alternated without any relationship to each other or to a larger composition. As a result, the best tracks are usually those that remain relatively uniform in style throughout, without any half-baked attempts at development. That isn’t to say they can’t pull off many styles well, because they do. It’s just the transitions that seem a bit raw. The main band is a quartet of sax, keys, bass, and drums, and while supplemented by guests at times, the core unit can more than cover the spectrum for timbre and mood. Their interplay is exceptional and drummer Sudoh Toshiaki’s playing often reminds me of Tony Williams from Miles’ mid-60s quintet. Not sure what their influences are, but “Gate of Difference” sounds like a Doctor Nerve Beta 14 OK outtake. Machine and the Synergetic Nuts have enough originality to be worth opening your wallet for, and enough talent to build on a solid debut release.

by Sean McFee, Published 0003-12-01

Filed under: New releases, Issue 28, 2003 releases

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